2. Quick Rate is used to express joy, mirth, confusion, vïölent anger, and sudden fear; as,

1. The lake has bûrst! The lake has burst!

Down through the chasms the wild waves flee :
They gallop ǎlong with a roaring song,
Away to the eager awaiting sea!

2. And there was mounting in hot haste: the steed,
The mustering squadron, and the clattering car
Went pouring forward with impetuous speed,
And swiftly forming in the ranks of war.

3. Moderate Rate is used in ordinary assertion; narration, and description; in cheerfulness, and the gentler forms of the emotions; as,

When the sun walks upon the blue sea-waters,
Smiling the shadows from yon pûrple hills,
We pace this shōre-I and my brother here,
Good Gerald. We arise with the shrill lark,
And both unbind our brows from sullen dreams;
And then doth my dear brother, who hath wōrn
His cheek all pallid with perpetual thought,

Enrich me with sweet words.

4. Slow Rate is used to express grandeur, vastness, pathos, solemnity, adoration, and horror; as, 1. 0 thou Eternal One! whose presence bright All space doth occupy, all motion guide; Unchanged through time's all-děvʼastating flight; Thou only God! There is no God beside! 2. The eûrfew tōlls-the knell of parting day; The lōwing herd winds slowly ō'er the lea; The plowman homeward plods his weary way, And leaves the world to darknèss and to me.

V. MONOTONE.

ONOTONE consists of a degree of sameness of tone, in a number of successive words or syllables. 2. A perfect Sameness is rarely to be observed in reading any passage or sentence. But very little variety of tone is to be used in reading either prose or verse which contains elevated descriptions, or emotions of solemnity, sublimity, or reverence.

3. Monotone usually Requires a low tone of the voice, loud or prolonged fōrce, and a slow rate of utterance. It is this tone only, that can present the conditions of the supernatural and the ghostly.

4. The Sign of Monotone is a horizontal or even line over the words to be spoken evenly; as,

I heard a voice saying, Shall mortal man be more just than God! Shall a man be more pure than his Maker!

EXERCISES IN MONOTONE.

1. Lord, thou hast been our dwelling-place in all generations. Before the mountains were brought forth, or ever thou hadst formed the earth and the world, even from everlasting to everlasting, Thou art God.

2. Man dieth, and wasteth-away: yea, man giveth up the ghost, and where is he? As the waters fail from the sea, and the flood decayeth and drieth up, so man lieth down, and riseth not; till the heavens be no more, they shall not awake, nor be raised out of their sleep.

3. The cloud-capp'd towers, the gorgeous palaces,

4.

The solemn temples, the great globe itself—
Yea, all which it inherit, shall dissolve,

And, like this unsubstantial pageant, faded—
Leave not a rack behind.

I am thy father's spirit;

Doomed for a certain term to walk the night,
And, for the day confined to fast in fires,

Till the foul crimes, done in my days of nature,
Are burnt and purged away.

PERS

VI. PERSONATION.

ERSONATION consists of those modulations, or changes of the voice, necessary to represent two or more persons as speaking.

2. This Principle of Expression, upon the côrrect application of which much of the beauty and efficiency of delivery depends, is employed in reading dialogues and other pieces of a conversational nature.

3. The student will exercise his discrimination and ingenuity in studying the character of persons and things to be represented, and so modulate his voice as best to personate them.

EXERCISE IN PERSONATION.

He. Dost thou love wandering? Whither wouldst thou go?
Dream'st thou, sweet daughter, of a land mōre fâir?
Dost thou not love these aye-blue streams that flow?
These spicy forests? and this golden âir?

She. Oh, yes, I love the woods, and streams, so gãy;
And more than all, O fäther, I love thee;
Yet would I fain be wandering—far ǎwāy,

Whêre such things never were, nor e'er shall be.
He. Speak, mine own daughter with the sun-bright locks!
To what pale, banished region wouldst thou rōam?

She. O father, let us find our frozen rocks!

Let's seek that country of all countries-HOME! He. Seest thou these orange flowers? this pälm that rears Its head up toward heaven's blue and cloudless dōme?

She. I dream, I dream; mine eyes are hid in tears;

My heart is wandering round our ancient hōme.

He. Why, then, we'll go. Fârewell, ye tender skies,
Who sheltered us, when we were fōrced to rōam !

She. On, on! Let's påss the swallow as he flies!

Farewell, kind land! Now. father, now-FOR HOME!
-The red rose läughs, " She is near, she is near ;”
And the white rose weeps, " She is late.”

PAUSES

PAUSES.

VII. PAUSES.

I.

DEFINITIONS.

49

AUSES are suspensions of the voice in reading and speaking, used to mark expectation and uncertainty, and to give effect to expression.

2. Pauses are often more eloquent than words. They differ greatly in their frequency and their length. In lively conversation and rapid argument, they are few and short. In serious, dignified, and pathetic speaking, they are more numerous, and more prolonged. 3. The Pause is marked thus ។

illustrations and exercises.

TH

II.

in the following

RULES FOR PAUSES.

HE Subject of a Sentence, or that of which something is declared, when either emphatic or compound, requires a pause after it; as,

។

The cause will raise up armies. Sincerity and truth form the basis of every virtue.

2. Two Nouns in the same Case, without a connecting word, require a pause between them; as,

I admire Webster ។ the orator.

3. Adjectives that follow the words they qualify or limit require pauses immediately before them; as,

។ ។

He had a mind deep active well stored with knowledge. 4. But, hence, and other words that mark a sudden change, when they stand at the beginning of a sentence, require a pause after them; as,

។

But 9 these joys are his. Hence Solomon calls the fear of the Lord the beginning of wisdom.

។

5. In Cases of Ellipsis, a pause is required where one or more words are omitted; as,

He thanked Mary many times Kate but once. ។ man friend, that brother. ។

Call this

6. A Slurred Passage requires a pause immediately before and immediately after it; as,

The plumage of the mocking-bird though none of the hōmeliest has nothing bright or showy in it.

។

These rules, though important if properly applied, are by no means complete; nor can any be invented which shall meet all the cases that arise in the complicated relations of thought.

A good reader or speaker pauses, on an average, at every fifth or sixth word, and in many cases much mōre frequently. In doing this, he will often use what may be called suspensive quantity.

III.

SUSPENSIVE QUANTITY.

USPENSIVE QUANTITY means prolonging the end of a word, without a reäl pause; thus suspending, without wholly interrupting, the progress of sound. 2. This Prolongation on the last syllable of a word is indicated thus, in the following examples. It is used chiefly for three purposes:

1st. To avoid too frequent a use of pauses; as,

Her lover sinks-she sheds no ill-timed tear; Her chief is slain-she fills his fatal post; Her fellows flee-she checks their base career; The foe retires-she heads the rallying host. 2d. To produce a slighter disjunction than that of a pause; and thus at once to separate and unite; as, Would you kill your

friend and benefactor?

3d. To break up the current of sound into small pōrtions, easily managed by the speaker without the abruptness which would result from pausing whenever this relief was needed; and to give ease in speaking; as, Warms in the sun, refreshes in the breeze,

Glows in the stars, and blossoms in the trees.

GENERAL RULE.-When a preposition is followed by